1,252 days, 1,959 entries ...

Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day

NEW NOW Festival returns to the industrial world heritage site of Zeche Zollverein in Essen (DE), once the world’s largest colliery, to conjure “Hypernatural Forces” in a major exhibition. Ten resident artists including AATB, Cinzia Campolese, Daniel Franke, Ali Phi, Sabrina Ratté, and Pinar Yoldas created new works that ponder the site’s political and environmental legacy. As visitors wander the caverns of the Mixing Plant, they encounter roaming robot packs and AI-generated eco-systems.

Australian architect and filmmaker Liam Young premieres a new docu-fiction installation, The Great Endeavor (2023), at this year’s Venice Biennale. The piece offers glimpses of a longer forthcoming film that approaches planetary-scale carbon sequestration with radical optimism. Young and consulting scientist Holly Jean Buck turn humanity’s largest engineering project into an infrastructural imaginary, “chronicling the coordinated action to decolonise the atmosphere in our last great act of planetary transformation.”

“This is our generation’s moon landing, a mobilization of workers and resources on a planetary scale that would only be possible through international cooperation to an extent never achieved.”
– Australian architect and filmmaker Liam Young, on humanity meeting the ultimate challenge of atmospheric carbon sequestration in his and consulting scientist Holly Jean Buck’s forthcoming docu-fiction The Great Endeavor (2023)
“Fire isn’t going away. We’re going to be burning for this entire century. We’re going through a global regime change and a whole bunch of things are going to catch on fire, and catch on fire again.”
John Vaillant, American-Canadian writer and author of Fire Weather (2023), discussing the wildfires currently raging in Alberta, Canada, as a sign of things to come. “This is a global shift,” he notes. “It’s an epochal shift, and we happen to be alive for it.”
“The board advised all their shareholders to vote against this resolution, making it clear that in addition to promoting conflict and violence around the world, Lockheed Martin is also uninterested in scaling back its significant contribution to climate change.”
– Activists Danaka Katovich and David Gibson, reporting on whether the U.S. government’s largest military contractor will disclose plans on how to reduce its greenhouse gas emissions. To do so would be “premature and not in the best interest of our Company or our stockholders,” the board argues.
“The fossil fuel industry doesn’t just happen to buy Autodesk’s products the way anyone could purchase Word, Microsoft’s ubiquitous word processing software. Instead, Autodesk courts polluters with industry-specific tools.”
Joanie Lemercier, discussing his campaign to pressure the American software company to end its business dealings with German coal giant RWE. Instead, Autodesk hatched a Lemercier “mitigation plan” that encouraged employees to block or ignore him on social media and provided talking points in response to his criticisms.

Hearings begin at the Court for Intergenerational Climate Crimes (CICC): Extinction Wars at the Gwangju Museum of Art (KR). The Netherlands Pavilion at the 14th Gwangju Biennale, this second iteration of lawyer-activist Radha D’Souza and artist-researcher Jonas Staal’s CICC invites attendees to sit in as “prosecutors and witnesses from various social movements and activist organizations testify to the role of states and corporations in perpetuating climate war crimes” through April 9th.

“Current mining operations have now become their own geological force, scraping, sorting and collecting more dirt, rock and sediment than the world’s rivers, wind, rain and glaciers every year.”
– Canadian journalist Andrew Nikiforuk, citing British geologist and Extraction to Extinction (2021) author David Howe in a scathing critique of the extractivism-powered “green techno-dream.” If continued, he writes, “the pile of human mined materials on this groaning planet will triple global biomass by 2040.”

Basel’s House of Electronic Arts (HEK) premieres new works by Pe Lang, Johanna Bruckner, and Jennifer Merlyn Scherler—three Swiss media artists and winners of the 2022 Pax Art Awards—in parallel solo exhibitions. Veteran Lang translated a scene from his forthcoming sci-fi novel into a kinetic light installation, whereas emerging talents Bruckner and Scherler authored CGI video and sculptural works that explore techno-bodies (image: Body Obfuscations, 2023) and climate anxiety.

Pevere, Schubert, Żyniewicz
Membranes Out of Order
Part exhibition catalog and part philosophical inquriy, Berlin-based bio artists Margherita Pevere, Theresa Schubert, and Karolina Żyniewicz expand on their recent self-survey together with philosopher Margrit Shildrick and art historian Olga Majcen Linn.

Continuing his mission to call attention to the climate crimes unfolding at the Hambach and Garzweiler mines in North Rhine-Westphalia, Germany, French visual artist and activist Joanie Lemercier unveils Faces of Coal (2023), a series of plotter portraits of those responsible drawn in lignite coal. The first culprit: Markus Krebber, CEO of energy giant RWE, the German multinational operating the mines that, famously, laid waste to an entire region and are now the biggest source of CO2 in all of Europe.

“We Are Electric: Extraction, Extinction and Post-Carbon Futures” opens at the University of Queensland (UQ) Art Museum in Australia. Foregrounding “bodily and planetary flows, the politics of extraction and exchange,” artists including Diane Borsato, Haines & Hinterding, and the Institute for Queer Ecology urge action and offer paths forward; using the trappings of Big Oil—rusty drill bits and barrels—Quandamooka artist Megan Cope’s Untitled (Death Song) (image, 2020) sounds a dire alarm.

A survey of DISNOVATION.ORG’s ongoing Post Growth (2020–) research project opens at Kunsthaus Langenthal (CH) with the title “The Long Shadow of the Up Arrow.” The international collective challenges economic growth narratives with evocative thought experiments and prototypes that include videos, installations, objects, and texts. On view are, for example, the indoor farming experiment Life Support System, the diagrammatic CO2 cost analysis Shadow Growth, and samples from the 2021 book Bestiary of the Anthropocene.

“We’re using this very powerful tool that is able to take information and integrate it in a way that no human mind is able to do, for better or for worse.”
– Stanford climate scientist Noah Diffenbaugh, on using machine learning to model anthropocentric warming. In Proceedings of the National Academy of Sciences, his team’s model predicts we’ll blast past agreed-upon climate thresholds. As Brown University researcher Kim Cobb put it: “This paper may be the beginning of the end of the 1.5C target.”
“I’m watching a process 20 times more efficient than photosynthesis, by which Solein uses renewable energy to turn hydrogen, oxygen, nitrogen, and carbon dioxide into a replacement for eggs, milk, cheese, mayonnaise, and meat.”
– Food writer Tamar Adler, touring the bioreactor of Finnish microbial fermentation start-up Solar Foods. Compared to agriculture, Solein and similar microbial protein products could feed humanity at a fraction of the environmental cost, Adler writes.

Nandita Kumar’s solo exhibition “From Paradigm To Paradigm, Into the Biomic Time” opens at daadgalerie, Berlin. A deconstruction of the climate disinformation machine, Kumar’s titular news ticker regurgitates falsehoods as concrete poetry and a musical score. Using an algorithmic haiku generator, the Mauritian artist and 2022 DAAD Music & Sound Fellow translated 91 untrue statements into a 12-meter pianola loop that sonifies dissonance—“between the scientific community, political spheres, and the populace at large.”

“Our analysis shows that ExxonMobil’s own data contradicted its public statements, which included exaggerating uncertainties, criticizing climate models, mythologizing global cooling, and feigning ignorance about human-caused global warming.”
– A team of American and German researchers, delivering proof that the oil giant predicted global warming “correctly and skillfully” since the late 1970s
“As the heat builds again in 2023, it is perfectly possible that we will touch or even exceed 1.5°C for the first time.”
– Earth science scholar and writer Bill McGuire, forecasting the cataclysmic effects of the next El Niño. The recurrent Pacific climate pattern is known to boost global temperatures and predicted to return in 2023. “When it does, the extreme weather that has rampaged across our planet in 2021 and 2022 will pale into insignificance,” McGuire writes.
“Some institutions are spending more on their energy bills than they are on their exhibition programs, which is crazy.”
– Heath Lowndes, Managing Director of Gallery Climate Coalition (GCC), on the ecological and financial footprint of climate-control systems used in collection management. “The regulations governing them were set in the 1950s and collection managers are still largely tied to these antiquated, irrelevant standards, which means they basically keep art in a fridge.”
To dive deeper into Stream, please or become a .

Daily discoveries at the nexus of art, science, technology, and culture: Get full access by becoming a HOLO Reader!
  • Perspective: research, long-form analysis, and critical commentary
  • Encounters: in-depth artist profiles and studio visits of pioneers and key innovators
  • Stream: a timeline and news archive with 1,200+ entries and counting
  • Edition: HOLO’s annual collector’s edition that captures the calendar year in print
$40 USD